LIBRARY OF CONGRESS. 

TT 5^0 

•'liiip, Copyrinlil X+i. 



UNITED STATES OF AMERICA. 



(* 





... X jrTL x_j . . . 

MODERN - DESIGNER. 



A WORK SHOWING THE NATURAL WAY OF 

PRODUCING GARMENTS THAT ARE 

PERFECTLY BALANCED, 

STYLISH AND 

GRACEFUL. 






L. N. BISHOP. 



2070 

I » .A, ClIPlES RECEIVtD 

1 JAN 5 1901 

, O. 3 o ? 5'S', 
str.oNO COPY 

I)eiivan4 to 

ORO£R DIVISION 

JAN 10 1901 



ENTERED ACCORDING TO ACT OF CONGRESS, IN THE 
OFFICE OF THE LIBRARIAN OF CONGRESS, AT WASH- 
INGTON, D. C, BY 

LOUIS N. BISHOP, 
IN THE YEAR NINETEEN HUNDRED. 



INTRODUCTION. 




|A VING a iiiimbcr of years of jn-aeti- 
cal cxpei'iuiK'e and meeting witli 
great success in my inetliocis of 
designing garments, I liave con- 
cluded logive tlie [uiblic a work on 
this subject, that will till a long felt want, as I 
think the contents of tliis book will [ilniniy show. 

Cutters and practical men in the tailoring and 
clothing business will agree with me that the large 
number of publications on this subject are incom- 
plete, in as much as their teacliings to a great extent 
are impractical. 

Tlie authors of these works write principally 
upon theory. They either witlihold tiieir knowl- 
edge from tlie trade intentionally, hoping to gain 
your jiatronage in anotlier way, or they are writing 
things of which they are entirely incapable of 
disi'ussing. 

My object will be to give you a work witii all my 
practical experience, a work which will enalde you 
to produce })erfect fitting garments, giving all tlie 
[loints necessary for cutting garments for differ- 
ently shaped individuals, and for altering garments 
that do not tit or hang pro[ierly. 

One of the faults of many systems now in use is 
their complication. A young cutter after being 
tauglit one of tiiese systems will tiiid that it re- 
quires all his faculties to retain the ()oints taught 
him, and will be unable to use iiis better judgment 
in making a well fitting garment for a figure out of 
the ordinary, simply because he is taught to adhere 
so closely to his system. This all cutters of ex- 
perience know is impossible. A cutter must use 
judgment in cutting garments for oddly shaped 
figures. 

I have endeavored to explain my methods in as 
simple a manner as possible, showing how the 
measures are taken and how applied wlien drafting, 
giving the "wliys and wlierefores"' of same, and I 
am satisfied that if you will study this system care- 
fully, you will see that all my changes for different 
measures are consistent. 



'Inhere is a great deal saiil and published on gar- 
ment rutting at the present <hiy, by persons who 
have never had any practical experience, and their 
theories, etc., seem very plausible on paper. l>ut, 
when put to practical tests their shortcomings are 
vei-y much in evidence, 

I have no desire to detract from any one's credit 
in the above, and will not use any personal remarks 
in this work. While 1 fully appreciate that too 
much criticism is not relished by the public, I am 
nevertheless compelled to draw a few comparisons, 
in oi-derto better illustrate the consistency of my 
methods and show the ditierence between the right 
and wrong way of producing garments. 

You often see a draft of a garment published, 
purporting to be first-class, but which falls short of 
the merit attributed to it. Follow the directions 
closely and make a pattern by this same draft, and 
see what you will have. The large percentage of 
cutters will immediately see that the thing is im- 
practical and pay no further attention to it ; while 
tlu're are others who will use the draft, and when 
the suit is tried on, they will be dismayed, and well 
they niay be, because it may have so many faults 
that it will make your brain whirl in trying to 
devise some alterations whereby you may make it 
lit. l?iit you will devise in vain, as the thing is 
hopelessly "killed", and then this cutter will 
wonder why he cannot make a "tit", and will in all 
jM-ohability try something else with the same result. 

Of course, he will eventually become discouraged, 
and his occu[iation will have no further attraction 
for him. lie will lose interest and ambition, and 
remaid in a small position with a small salarv, 
thinking he is worth no more, while if he had one 
good system (and 1 have no liesitancy in recom- 
mending the one in this book), one that he could 
understand and apply his own good judgment 
thereto, he would soon derive enough satisfaction 
for himself and his customers to show that he was 
on the right track. 

A cutter cannot afford to deny himself a work of 
value in his occuiiation, because what would cost 



THK MODERN DESIGNER. 



liim a few dollars now would bring him many 
times the amount in return in the future, providing 
lie invested his money judiciously : invested it in a 
work that is superior, not in old systems that have 
always caused a cutter more or less trouble — but in 
a system that will explain its points clearly to the 
cutter, leaving no doubt in his mind as to its 
superiority. 

Have you over taken time to think that the 
cutters of to-day have the same troubles with ill- 
fitting shoulders and poorly balanced garments that 
cutters had fifty years ago? Tliis should not be, 
since all scientific studies have advanc'ed wonder- 
fully in the last fifty years. Garment cutting 
should keep pace with the times, and any cutter 
that continues to cut ill-fitting garmentB. when 
there are publications with tbe advanced methods 
ot producing garments in circulation, certainly 
denies himself benefits that are the result of the 
general law of natural advancement. 

It is easy U> say that this or that system is 
l)crfect, but not so easily proven, as a great many 
cutters have found out, when the motives for 
locating different points on a draft cannot be ex- 
plained consistently even by the ones teaching 
these systems — when I sa^' that the system I 
publish estalilishes all these points e(jrreetly, I 
know whereof I speak. I would call your careful 
attention to tlie first draft in this book, which 
shows where the shoulder point should be. All 
intelligent cutters will notice how consistently this 
point is established, leaving no chance for argu- 
ment. You cannot possibly deviate from this 
method, if you want to locate this point correctly. 
Read the article in connection with this draft, 
which I explain thoroughly. 

Being aware of the large number of writings on 
this subject, and the convincing arguments put 
forth to sustain these writings, I fully realize what 
is required of me to publish a book on cutting that 
will meet the approval of all cutters, and designers. 
It would be folly on my part to compile a work on 
this subject, were I not convinced that it would be 
appreciated, and be found thoroughly practical by 
all cutters. What I mean by "practical" is that it 
will produce garments, that should and will be 
worn by all persons desiring stylish, jierfect fitting 
and pleasing garments. The word "practical" is 
so often misapplied in tiiis connection that 1 think 
it best to define my meaning in the matter. 

What are the points required for stylish, perfect- 
fitting and pleasing garments? I will define them. 



A coat should set neatly to a man's neck, close up 
in the center, and gradually sloping downward to 
the first button. A coat should be jierfectly 
smooth in the shoulders, and in front of the arm. 
A sleeve should always fit the scye, because an ill- 
fitting sleeve destroys the beauty and ease of the 
garment, as we all well know. A coat should fit 
well and neatly in the body, and at the same time 
feel comfortable. You will find it pretty hard to 
convince a good dres.ser that his coat fits, if it feels 
uncomfortable to him. 

A vest should fit just as well as a coat, and 
should be drafted in the same way, as you will 
notice I do. 

Trousers require considerable care and judgment 
in drafting, owing to the many difierently shaped 
subjects you will have to please. A careful perusal 
of my article on trousers will show you that they 
are not only thoroughly perfect in their construc- 
tion, but are also far superior to any trouser system 
yet published A glance at my draft on trousers 
will convince you of their superiority. This is the 
first time this draft has ever been published, and is 
alone worth many times the price of this entire 
book. It is the only draft producing trousers that 
actually conform to the legs. I am somewhat 
partial to these trousers, knowing their merits, and 
know'ing they have never before been given to the 
j)ublic. Read the exiilanations accompanying these 
trousers. 

I would call your attention to the sleeve draft in 
this volume. That this sleeve is perfect, no one 
with experience can deny. It is simply cut to fit 
the scye, as all sleeves should do. How many 
garments that have fit perfectly without the sleeves 
at the "tr}' on", have been ruined by putting in an 
ill-fitting sleeve. The customer ma}' be satisfied 
with the garment, and some cutters think that is 
ail that is necessary. But let this same customer 
come in contact with a man who has a well cut 
coat with a perfect-fitting sleeve, and you will have 
little trouble in distinguishing the stylish and 
graceful garment. 

After all is said these small items ai-e what 
constitute a stylish garment. Because a garment 
fits does not signify thut is all that is required. A 
garment must be a combination of fit, style, ease 
and grace, and all these requisites can only be 
acquired by a properly balanced garment, a well 
shaped gorge, a perfect-fitting sleeve, a smooth 
fitting shoulder, and last, but not least, the shaping 



TIIH xMODKHN DESK^NKH. 



of the scye, are factors that cannot be overlooked. 
T speak of all these points and show the proper 
method to be adopted in brino^ini;- them to perfec- 
tion, in tlie article connected with the coat dral'tn 
in tliis work. 

A cutter's education is not complete unless he is 
efficient in grading. Grading is invaluable to all 
cutters, especiall}- those who cut for the road trade, 
because it enables them to produce their own l)lock 
patterns, wiiich they will tind far superior to any 
they can buy. [ explain this subject thoroughly in 
the irradintr methods found in this book. These 



methods will produce your blocks true to your 
model, liead tlie article on grading, and you will 
see how important it is you should be well versed 
in this particular bi-ancli of designing garments. 

One glance through this work will convince you 
that it is the most complete book ever published in 
the interest of garment cutting, treating more 
subjects, (and in a way that cannot fail to bring 
success to the close student thereof), than any 
publication of its kind ever issued. 

I respectfully submit the contents of this book to 
your most critical observation. 




THEIMODERN DESIGNER. 




4-BUTTON SACK.— Sbowiug Shoulder Poiut in its prope'' plaee. 



TIIK MODEIJN DKSIGNEU. 



TO DRAFT 4.BUTTOW SACK 

OM ufposite: paoe. 




RST fold your paiier, luakiiii;- a 
crease as aliowii in cut from A to D, 
tlie light lines of draft are folded 
under shaded part. 
S([uare line from crease to .1. 
From A to B is dejith of scye ; to C, natural waist, 
and to D is full length. F is lialf way between 

A and B. 
E is I inch below B. 
Square lines F, B. E, C^ and D. 
From B to 4 is blade measure. 
4 to L is i of blade on stjuare. 
yijuare up and down from L. To get points and 

P, add 1 inch to half of breast, which in this case 

makes 1!», then go out J of I'J on square from J 

to Q. 
From ii to V is i of same amount (19). 
O is J inch out, | inch up from Q. Square down 

from (I and P. Draw line from to ? inch 

above F. 
(i is 1-16 breast from line P. 
T is up i of distance between B and F. 
T to U is 1-16 lu-east. Square down from U to ^'. 
Shape back as represented, coming in .\ inch at M. 
Shape from half way between J and K to 0, then 

on to G, on to T and tinish side seam as repre- 
sented. 
Measure from B to L ; apply this at B and continue 

to V for blade measure." V to W is 1] inch. 

From K to O and W to Q is first over, and i inch. 
This measure should terminate on line running 

down from Q. 
From L to S and V to R is second over, with 1 iucii 

deducted. 
Draw small line half way between O and (J, as 

shown in cut. 
Square up to O from this line and down to C^), which 

establishes shoulder point. 
Shape front shoulder seam from 

to Q. 
From Q to H is same length as () to (1. 
Shape scye from II touching line \V and going 

down to line E. 
From Q to X is ^ breast. 

Square out from X, shape gorge as represented. 
Measure from B to L: apply this at P>, and meas- 
ure to 3, which is ^ of full breast, and -ii inches. 
Square down from 3. 

Now use a tracer, and trace through tiie outlines 
of back, and side seam of forepart, as illustrated by 
light lines. Then unfold the paper, which will give 
you a draft like the cut. Measure side seam of 
back and make side seam of forepart same length. 
Then sweep from 5 by Q to 1, which is two inches 
from line K and N. Finish front and bottom, as 
illustrated. 

Give this cut your close attiuition, and stuily the 
shuulder point carefully, and you will see that it 
will be inqiossible to misplace the shoulder point. 



II through li on 



It shows the coat in the same position, as when 
worn, and when the shoulder point is directly in 
front of the part it joins on the l)ack, it will be im- 
possible for a shouliKu' to draw wrinkles. In 
making a draft, you will notice by lapping the 
point over by the small line between O and t^, that 
point O will always meet point <^> exactly. This, 
of course, is plain to be seen 

Now, the point vvliicb proves that this shoulder 
point is right is the line where the coat turns a 
man's body. This is shown on cut where the 
shading discontinues. Well, if this is the turning 
point of the coat, — that is, its extreme point on the 
sides, neither front nor back, then you may be sure 
that the shoulder is perfecct, since all that is re- 
quired is that the shoulder point should meet the 
point on the back over the slioulder. preventing 
any drawing. 

Now, you will see this turning point is correctly 
established, by noticing that tbeblade measure con- 
trols this point. If a man's back or blades be large, it 
will, of course, give him more width from B to L, 
and if blades be small, it will give him less, always 
controlling the shoulder point; or we might say 
that the shoulder point must always be even with 
the jioiut on the back, at neck, your dimensions 
being gotten from this point, constructing the coat 
in front and back evenly to conform to the breast 
and blade measures. 

You can illustrate this yourself by taking a 
iinished coat and laying it flat upon your table in 
the same shape as this draft, with the crease 
running down under the arm; then smooth your 
shoulder until the front and back are perfectly Hat, 
and the whole side of the coat is also smooth and 
Hat front and back. This will then show you 
where the turning point of the garment you have 
is. Then move this same crease under the arm 
back about h inch ; that is, crease the coat ^ inch 
further back, and you will notice that the shoulder 
will not he smooth. This will plainly show that 
the shoulder point is entirely regulated by the 
turning point of the coat, and that this turning 
point is regulated by the blade measure. Therefore, 
if you get a true blade measure, you cannot possibly 
make any error in establishing your shoulder point 
by this method. 

liead this article carefully, and if you do not 
understand it the lirst time, go over it again, and 
you will be well repaid for so doing, because it will 
give you a clear knowledge of the location of the 
shoulder point. 



10 



THE MODERN DESIGNER. 




3-BUTTON CUTAWAY FROCK. 



THE MODKRX l)KS[(;NKR. 



11 



FOB DKAFTI]V« TIIRBK-BUTTON 
FKOCK. 




|(,tUAKK lines A I! and A C. 
A to I) is (leiith of seye 
A to E to F and to B are natural, 
fashionable waist, and full lent;'th. 
II is half way l)etween A and i>. 
Square lines H, D, E, V aiul B. 
A to (J is i full breast. 

To locate points I, L, M, and N, add 1 incli on 
half breast measure, making 19 inches ; tliengo out. 
From A to I is J of 10 I to L is {. C to N is i, 
and from N to M is j . 
Square down lines L, M, N and C. 
U is i of HI ( or 1 inch moretiian iiall breast ), from 
line L. 

From I to .1 is J incji. 

J to K is I inches. 

Draw line from K to U. 

From line L to T is l-lti breast. 

V is J of distance between line li and !>. 
F to G is J inch. 

G to Z is ^ breast. Square up from Z. 
Shape back as represented, making l)ottOTn of back 
skirt same width as fi'om F ti» Z. 

Y to I is 2 inches. 

This is for normal figures only. 

(Read notes in connection with "waist suppression") 

Shape back seam of side body. 

From D to Q, less the amount between back and 
side bod_y on breast line is blade measure. 

From Q to 1\ is I'l inclies. 

Whatever distance Q is forward of line M, place O 
i tliis distance from N. 

From A to K and M to O is 1st over measure and 
i inch. 

From 1) to S and Q to X is second over measure, 
and i inch deducted. 

Shape shoulder seam of forepart as illustrated 

O to W is same distance as K to T. 

Draw line f inch below bi-east line. Shape seye from 
W touching line R going down to | inch line on 
to back, coming -| inch forward fi'om back as 
illustrated. 

(:io down '; breast from O and square out for gorge. 
Shape Gorge. From I) to 7 less the amount be- 
tween back and side body is ^ of full l)reast. 



7 to 6 is 3^ inches. 
From back seam on natural waist line to \ and 

from 1 to 2 and ti-oni 3 to 4 is ^ of full waist. 
4 to 5 is '6h inches. 
Shape tront as represented : 
Measure back from forward of V to Z and make 

side body same length and | inch from same 

point to 1 1 . 
Sweep from 11 by n. 15 to 13 is 3 inches. 
Draw line from seye for side body seam as illus- 
trated taking out A inch at. waist. 

The widtli of si(U' body sliould be made by the 
cutter's judgment to harmonize with the size of 
coat. 

Shai^e bottom of side body from 11 to fashiona- 
ble waist line, and Ijottom of front from 12, which is 
I inch below si(h' body on to 14, making a gradual 
curve as illustrated 



FOR DRAFTIIVO »iKIRT. 

I>raw straight line from il to 14, s(piare down by 
this line to I'.t. 11 to Iti is 6 inches. From 10 
to 17 is 1 inch, and 19 to 18 is 1 inch. 

Shape back of skirt from 11 tiirough 17 on to 18. 

Tlie distance from 11 to 18 is ] in. more than from 
Z to 20. 

Square across from 19 at full length of skirt by line 
11 and 19. 

12 to 21 is i inch. 

Shape to|i of skii't from 11 through 21 on to | incli 
below 14 as illustrated. 

Shape front and bottom as represented. 



THF COLLAR. 

Draw straight line ojiposite top button to O. 

Crease the lapel at this line and lay back as illus. 
trated. Then lay your j)aper underneath. 

Draw a curved line from break at gorge througli 
P \ incli in front of •) on to 9. 

9 to 10 is 1;^ inches. 

C'Urve line from 10 on lo the gorge as illustrated. 

9 to 8 is 2 inclies, or whatever width of collar de- 
sired. 

Draw line from 8 and linisli, making ste]) in collar 
same as lapel, unless style dictates otlierwise. 



12 



TlIK MODERN DESIGNER. 




VEST DRAFT. 



THK MODERN DESKiNKR. 



13 



FOR DKAFTlMf,} VEST. 




IQUARK litieH A 1'. aiHl A C. 

A to 1) is depth of scye, and to 1*' is 
natural waist. 

F is halt' w ay between A and D. 

8qnare lines F, 1) and K. 

A to C is ^ of full Ijreast nieasui'e. 

'I'o ii'et points I, .1, K and L, do same as in the coat 
draft. 



Fi'oni 1) to "2 inches IVoiu 1' on shoulder seam, ami 
S to same place on front slioulder is -Jnd over. 
and ] inch is deducted. 

Shape front shoulder. 

M to <l is same distance as 1 to 1'. 
Shape scye as illustrated, goin^ 1 inch helow breast 
line. 

From center of back at D to F is ^ of full breast. 

U to \' is 2^ inches. 

S(|Uare (h)Wn from \^ 



Add 1 inch to half of breast measure, which in this v to 1 ami M to W is opening and i imdi and on 
case makes it 11* inches 



A to G is i of 19. G to .1 is J. 

(J to L is I and L to K' is ]. 

Square lines J, Iv and L. 

Q to II is ^ inch. H to I is i inches. 

is i of lit or of half breast with 1 inch added, 
from lir)e .1. Draw line from I to O 

E to N is 1 inch. 

Shape center, top and shoulder of back. 

J) to R is blade measure. R to S is 2 imdies. 

M is half the distance forward of rj,as R is forward 
of line K. From A to 1 and S to M is tirst over 
measure ; uo addition since S is | inch further 
forward, than same point in coat draft. 



to .\ is full length and 1 inch. M to N is y inch. 

Shape opening and front curving out ^ iueli tVom 
line as illustrated. 

S(juare o\er from .\. 

T is half way between |) and V, s(piare down 
from 'r. 

Y to Z is 2t inclies. 

Square across from Z. Measure from N to front of 
vest with tape and whatever aniount you liave 
over i full waist measure, and 2^ inches, take out 
between 2 and 3, divided e(iually from line in 
center. Shape under arm seam and bottom of 
front and back as illustrated; draft collar as 
illustrated, to be sewed on tlat as per illustration. 



^*^>2_S ^^^wJi) ^^^N2JD ^^Nw5 ^^^,2J? ^\SJ*J 



"fe'Co o)o <Q o)o <o o)° <o o)o <S o>oyS 



14 



THE MODERN DESIGNER. 




•^ 4B N 
TROUSERS-DRAFT. 



THE MODERN DESIGNER. 



15 



DIREC'TIOIV!^ FOR DRAFTIWO 
TR<»II!!iERS. 




UK measures arc as follows: 

Outsoain, 42 ; Seat, 37 ; Knee, IS : 

Iiiseam, 32 ; Koes, 27 : 

Waist, .32; Ankles, 26 ; TSottoni. 17. 

Draw line troni A to B near tlie center ot paper. 
From A to C is ,', seat ; from C to B is outseam : 
from B to 1' is inseani ; E is 2 inclies above, half 
way between B and 1'. 
Sfjuare lines from A to V, C to L and 1', E B 

across both ways. 

From K to () is 1^ inches : from K to I is U inches. 

From B to N is 2 inches, and H to 5 is 2 inches. 

The amount t:dcen out between knee and bottom 

are for this draft only. The amount taken out 

between and I, and N and h are regulated by 

measures around the knees and ankles. 

(Read notes in connection with trousers.) 

From P to G is ^ seat : from U to H is i seat. 

Square up and down, from G ; from L to Q is i 

waist ; O to I is A knee. N to K is 1 inch less 

than t'rom O to I, shajie forepart as re}iresented. 

I to 2 is ^ knee and 1 inch, 5 to B is 1 inch less 

tlian from 1 to 2. Measure with tape from 1\ 

to N ; apply at 5 and measure to tj, which on 

this draft is 16 inches. The bottom being 17 

inches, or IS inches, witli seams, 2 inches more 

than 16 inches, which should be divided 

equally 1 inch on eacii side from 5 to 4, and 6 to 

7. Draw straight line from I to f), from (2 to 1\ 

is 4 inch. Shajie side seam of bat'k [lart from R 

through D, about 1 inch from 1', then through 

1 to 4. 

From L to ^» and R to V is ^ of full waist, and 2i 

inches. 
D to X is i seat. X to Y is i seat. Y to Z is ^ 

seat, and Z to 3 is !{ inches. 
Draw line from Z to 2, and 2 to 6. 
From M to F on to W is i of full seat, an<l U 
inclies. This measure is applied al>out 4 inches 
above (i and measured as per dotted lines. 
U is J inches from V. Draw line from U to ^ inch 
back of Y. T is half way between U and R. T to 
S is J inch. 
Finish back part as represented. Bring line at 
crotcli i inch below 3. 

Sii.MK F.\('TS AnOUT TltdUSERS. 

Where is the man who does not like nice fitting 
trousers, and how seldom does he get them unless 



he has a well proportioned form and well shaped 
leo-s V What is the cause ? First let me tell where 
the faults of ill-titting trousers are, and then 
explain the causes. 

One of the faults often found in trousers is this : 
When, after you have used great care in getting 
the waist and seat measure correctly, the trousers 
pull up in the center of the back, laying a fold up 
and (h)wn, and the customer says they are too tight 
in the seat, while you say tliey cannot possibly l>e 
tight, as there is surplus goods at this point. He 
will also say they are too tight in the waist, button- 
ing too close in the front You say it is impossible, 
as there is also surplus goods at the waist in the 
baik. 

^■()U will notice that this fault oc<-urs mostly on 
people who have a very snndl seat measure. The 
fault is simply this : 

Notice the top of back part at jioint J\ on tlie 
trouser draft. Whenever this fault occurs, this 
point is thrown forward too much. This point 
should be thrown forwanl only on trousers with 
large seat measure and backward for those with 
small seat measures. 

Look at your |iresent system, and see if it docs 
not teach you that the larger the seat, the farther 
vou go back to get point V, which will necessarily 
throw point R farther back; and those with small 
seatmeasure8,just vice versa, ^'our system may not 
teach you this, lint I must say that T have seen a 
great number teach this very tiling. Well to show 
how wrong this is, just take a pant pattern, laying 
the back part on your table, place a weight l»elow 
point 3; lay one hand at the knee, and move iioint 
R backward with the other until you have a 
straight line from knee notch to point R; sec how 
much length and fullness you have over the seat; 
then you might cut off about 1 inch at point R, 
running it in to nothing at first notch, and a(kl this 
amount in the back ; then use the same jirocess, 
moving point R back until you have a straight line ; 
see how much shorter the length, and less fullness 
you will have over the seat. 

Now where do we require the length and fullness 
for a man with a prominent seat, or one with a 
less prominent seat ? 

The man with a prominent seat will require of 
course, more length and fullness over the seat than 
a man with a less prominent seat, just as sure as he 
will require more depth of scye if he has a full 
rouiul back. You always give a man more length 
for the rise on the back of trousers if he has a large 



16 



THE MODERN DESIGNER. 



seat, and aleo less if he has a snialler seat, which is 
correct. Hiit you iiave tiie back part swuug either 
too far forward or Itackward. Tiie consequence is, 
if it is swnng too far forward for a man with a 
aniall seat measure, wiion the trousers are pulled up 
making the outscaui straight, 3'ou will have too 
much fnilness over the seat. You have not allowed 
the seat of tlie trousers to rest where yon took tlie 
seat measure with your tajie line, because the back 
of the pants will be pulled up by the man's suspen- 
ders and [inlliug this surplus length up, and conse- 
quently throws folds up and down, making the pants 
decidedly uncomfortable The crooked ontseam 
will either do this, or leave a surplus just below the 
seat, giving the trousers a very bad appearance. 

If the reverse is the case, and this point "Jv" is 
jdaced too far back, making the outside seam too 
straight for a man with a large seat, you will Hnd, 
when he sits down, that he will have entirely too 
much goods in the front. So you will see the 
longer a man's scat is in proportion to his waist, 
the more curved should be his ontseam on the back 
part of his trousers ; and the smaller his seat 
compared with his waist, the straighter should this 
seam be. This is a jioint which you wi'l see my 
trousers give. 

Among other I'aults occurring in jioorly cut 
trousers are these: 

When the inseam is swung either too far in or 
too far outward, wrinkles will be drawn, which 
spoil the beauty of the pants. In the former case 
the trousers will iiivarialjly <lraw from the center 
seam at the knee toward the center to the crotch 
in tlie back. In the latter case, they will throw 
wi-inkles from the inseam at knee toward the nut- 
seam at seat, and also wrinkle in the crotch in front. 
You will notice that the closer a nuui juits his legs 
together, the more they will wrinkle in the ei'otch, 
showing conclusively that the seam is swung too 
far outwaid. Since you cannot guess at how far to 
swing the inseam in, you will have to take tlie 
measure I show around both knees, as I e.xjilain it 
in my lueasuring directions. This will give you 
the exact shajie of the man's legs. 

These same wrinkles are sometimes produced by 
hollowing out the crotch too much in front, which 
should always be avoided in cutting trousers. 

Where the trousers draw wrinkles from tlie out- 
seam at knee across the back upward, it is plainly 
evident tliere is not eiu)ugh goods at the outseam 
at knee, making the jiants touch this point. To 
illustrate this, you have (jnly to notice that the 



farther a man's legs are apart, the more this point 
will be in evidence, because the trousers hang at 
the knee, and pull inward and upward. 

A great many cutters see these wrinkles in their 
trousers, but pay no attention to them, knowing 
that trousers wrinkle anyway because a man moves 
his legs into so many different positions. But, 
trousers should be balanced properly, just the same 
as a coat, and you will see with liow much more 
ease and grace they hang when such is the case, 
than if they are improperly balanced. 

For .\ Co.Mi'AKisoN. 

Tut a coat that is not properly balanced on a 
man. Suppose that the coat is too short in the 
front shoulder, making it rest on his seat, ^'ou 
will notice the unsightly wrinkles it draws when 
the man walks, ^'ou will find tlie same fault with 
trousers where a certain i>art of them rest on bis 
knee, either inside or outside, and they will have 
these same unsightly wrinkles. 

For Bow LE(is. 

In looking over a reputable journal a lew days 
ago, I noticed pant draft for bow legs. Here is 
what the article teaches: 

The writer uses the same draft as for regular 
pants, and says, "1 go in 1 iiu-li at bottom and 
nothing at knee, the same as for a normal figure". 
Now if you will go to the trouble to measure a bow- 
legged man around both knees, a measure I illus- 
trate in this book, and also a man with normal legs, 
you will tihd that the bow legged man's knees turn 
out any distanct' from one to si.x inches more than 
the straight man. Tlien how can a jiant that is 
cut the same to the knee as a regular i)ant, tit a 
bow legged man, who may require from one to six 
inches more goods out at this point? And further- 
more is one inch going to be enough to swing the 
bottom in for all bow legged men when their legs 
vary in the amount bowed from one to si.K inches ? 

This is only one instance iii many of these im- 
practical teachings, which instead of being instruc- 
tive are misleading to the cutter who tries them. 

For cutting bow legged trousers, you should 
bring the outseam out as far at the knee as the 
man's knee really extends and throw them in at the 
bottom, as far as the measure indicates. This in 
extreme bow legs will give you a tolerable crooked 
outseam, but the inseam should be tilled in at the 
knee. You should always avoid cutting small 
knees for a man with bow legs. 



THE MODEKN DESIGNER. 



17 



A FEW NECESSARY POISITS IN THE 
CONSTRICTION i*V A OARWENT. 




VllCiAKMENT is r(>l)licd of a great deal 
of its style ami beauty by being- 
put togetlier iiuiiroperly A cutter 
sliould always see that his gar- 
ments are not oidy sewed and 

pressed well, but should see that the different parts 

are put together in the right manner. 

TiiK Proper Way to itt in a 8i.ki;ve. 

In sewing in a sleeve the under sleeve should 
always have fullness held in, enough fullness to 
make the curve of the under sleeve conform to the 
curve of the scye. 

A great many cutters and tailors adhere to the 
old way of holding the under sleeve tight, which 
makes the sleeve break under the back of the arm. 
To illustrate this, lay your under sleeve pattern on 
the coat where it should be put in. Yon will see 
the curve on the sleeve is more nearly straight than 
the curve of the scye Theu how is it possible for 
the sleeve to hang nicely in the back when the 
different curves are sewed together smoothly '! 
Whereas, if you draw the under sleeve in with a 
thread, it will assume the shape of the back scye, 
and will consequently hang smooth, at the same 
time leaving enough goods in the reai to allow you 
to move your arm freely. 

llou TO Pit a Collar on a Coat. 

The first thing to be avoided is too much shrink- 
ing and stretching of tlie collar, which is not only 
entirely unnecessary, but is ruinous as well. A 
great many of the old school will be averse to this 
method at first, but after they have tried it a time 
or two, they will see it is the only possible way of 
imparting grace to the collar ot the coat. 

The collar should not be pressed into the shape 
of a "horseshoe", which some tailors insist upon 
doing, as it prevents a collar from standing up 
beside the neck. A collar is cut to lit the neck, 
and after the coat is cut to tit close to the neck, 
theu the collar should begin at the gorge and stand 
up along side the neck, and not lay upon the 



shoulders, which will be the case when too murh 
shrinking is resorted to. 

I have seen a great many cutters examine gar- 
ments when finished. They take the coat with 
both hands inside of the arniholes, and sight over 
the collar along the shoulders, and when the collar 
is not as Hat as the shoulder, they send it back to 
the tailor with the instructions to "press it in 
better". That this is entirely wrong, there can be 
no ((uestion, because the break of the collar is 
made so much smaller than where the seam is, that 
it will be impossible for the collar to stand up as it 
s[iould. The result will be that the break will 
press against your neck, forcing the shoulders out 
of their position, and making the coat feel as if it 
would slide off your shoulders. How can it be 
otherwise when you have cut the coat itself to come 
up to the neck, and then have the collar pres.seil in 
such a manner that the break will be where the 
seam of the collar should be, and the seam will be 
forward one inch (the width of the stand after made 
uji) from the neck. 

The seam of a collar is cut with enough curve to 
throw the break toward the neck with .scarcely any 
shrinking whatever. All that is recpiired is a 
proper amount of [u-essing and slight shrinking in 
tlie center of the back. 

For examj)le, we will take a staiuling collar such 
as are used for clerical coats, uniform coats, etc. 
No tailor will shrink a collar of this kind in the 
same manner that he would shrink the regular 
turn-over collar, and why? 1 am sure I cantiot tell, 
since they both should fit in the same manner. 
Therefore, you will see liow absurd it is to shrink 
the one and not the other. Now there are cases 
when a little shrinking can be resorted to, but only 
where you have a figure with a short fat neck, or 
one with the neck pitched forward. 

The matter of putting in a sleeve properly and 
putting on a collar are two very important points 
in the construction of a coat, and cannot he treated 
lightly. Close attention by a cutter in having his 
collars and sleeves treated in this manner will amply 
repay him for his trouble, and impart a certain 
distinctiveness to his garments that will be notice- 
able to all good dressers. 



18 



THE MODERN DESKiNEK. 




4-BUTTON SACK DRArT. 



THE MUDEHX J)E!Sl(i^'EK. 



lit 



TO URAFT FOIIR-BITTOJV SACK. 




|(^UA.RE liuc'8 A B and A C. 

First take half of breast wliich is 

18, add 1 in always. Making 19. 

From A toll is J of 19. II to I is i. 

I to J is ^. J to K is i. 1\ to L 

18 1. L to C is i. 

A to |) is dejith of scye 8^ inches. 

A to E, F and I> are natural waist, fashionable waist 

and fnll length. 
G is lialf way between A and I). 
Square across from G, T>, E, F and B. 
<jO out h in. and up g in. from 11 to get point M. 
Square down 1, •!, K, L and C 
Draw line from M to N, is 1-16 breast from 

line 1. 
Shape centre back curving in J in. at E. 
Shape from half way between line A and \1 to M 

and from M to O and from to P. 
P is 5 distance between D and G. 
From P to R is 1-16 brea.^t. 
Square down from R to S. 

Finish back as represetited, leaving seam at P. 
From (,i to T is li in. 

5 to U is 1 in. 

Draw line from h in. inside of T to U. 
Square across from P to 5. 
I) to V is blade measure and 1 in. 
V to W is If in. 

6 is I as much forward from L, as V is forwar<l 
from line K. 

A to M and W to (3 is Ist over measure and 4 in. 
I) to Z and V to Y is 2nd over measure with ^ in. 

deducted. 
Shape shoulder seams through Y to (5. 
From 6 to X is same distance as M to (). 
Square up and across from W f in. below breast 

line. 



Shape side seams from 5 through T to U as repre- 
sented. 

Shape seye from \ touching line W, on to 5 as 

illustrated. 
6 to 1 is ^ breast. 

Square across from 1, shape gorge as represented. 
From D to Q and T to 2 is h of full breast & 3^ in. 
Square down from 2. 

Measure from P to S and make from 5 to U same 
lengtli. 

Sweep from U by L to establish 4 which is 2 inches 

from line G on swee]). 
First button is 5 in. from top and the otbers are 4] 

in. apart. 
Sluipe front and bottom as represented. 

AOTES. 

In shaping back of a scye come forward from line 
I just I as much as V is forward of line K. 

6 is also 5 this distance from line Q. 

If Blade measure brings V back to line K, indi- 
cating an erect figure, so also must point 6 be 
brought back to (J, and Itack of seye shaped to 
meet line I. 

Line K conti-ols lines I and L, lor whatever dis- 
tance the blade measure comes forward, or back- 
ward, on line K,just half of this distance sliould 
shoulder point be located forward or backward of 
line L and back scye shaped forward or backward 
of line I. 

This will always insure t\]v siiouliler point being 
ill the proper place. 

In making coat close fitting in the waist, take 
out between liack and forejiart, and take out gore 
under the arm, tlie amount necessary to rethice tlie 
actual waist measure to half of full waist and 3J in. 
In large waist, stout, etc., add to the front the 
amount to make actual waist measure and 3^ in. 
without taking out gore or between back and fore- 
part. 



^^\2l^ ^*^>^i.SJ f'^s2_^ ^^\^±.5D ^"^SJD ^^s^J5 



^*NS-Q ^-^sSLiD ^^^>9_S ^NSJD '^SJD ^\SJD 



•20 



THE MODERN DESIGNER. 




SLEEVE DRAFT. 



TlIK M(»1»KRN DKSIGXEU. 



21 




DRAFTIIVG SL,KETK A€COKDI]«<J TO 
.SHAPft: «F S€YK. 

lyJlHlS sleeve is drafted liy an is iiieli 
scye. Take tVirejiai't of ]iattt'ni and 
di-a\v outlines on j'Oiir paper as illus- 
trated by dotted lines, ti'aeinuf 
breast line and line / of an ineb 
'oelow. After having traced tliesc^ lines reiuose 
your forejiart frf)ni the [)aiier and s(j[Uare np and 
down from front of seye'',by breast line. 

Measure <listanee from II to (J o\\ thirds, then go 

up on fourths satiie distance from (' to locate 

point i). 
Then down on 1) same amount on sixteenths to 

locate point E. 
Scpiare across from D and E ; L is always same 

distance from E as K is from E. 
From F to O is i scye. 
M is half way between L and < ). 
N is directly above M. 

Sha])e over sleeve from F tlirougli Tj, N, on to O. 
Sijuare down from O. 
T and .1 are each 1-12 scye from C. 
P is 1^ inclies from O. 
Z is full length of sleeve. 

H is I inch below, halfway between U and Z. 
<i is (1) inch from 11. 

tSquare down from .1 and I and across from R to V. 
Sweep from line opposite Z at full length of sleeve 

by N across to \V. 
X to Z is ^ of cnft'and -^ inch. 
From V to U is 4 inch and from T to S is i inch. 
Finish sleeve as representeil. 

Note. — This sleeve is for a coat witli cut under 
arm of coat. A\'hen coat has no gore under arm 
vou should add 1 seam to over and under-sleeves. 



To get a sleeve that will tit the scye and always 
be perfect, ilraft your sleeve according to the arm- 
hole. Notice the draft in this volume, and you will 
see tiiat where the shoulder Increases in width so 
the sleeve decreases, wliich always insuri's a smooth 
sleeve. 

Quite a number of systems teach the draitiiig of 
all sleeves the same l>y the scye measure regardless 
of the heiglit or widtli of shoulder, which cannot 
]iOssibly he correct. The scye niay be wide from 
front to back and narrow from top to liottom, or 
narrow from front to back and wide from top to 
l)ottom, making the total measui-e of the scye the 
same. ^ ou would consequently draft the same 
sleeve for the ditlerent scyes, with bad results, of 
course, because a narrow deep scye recpiirea a 
narrow high sleeve, just as sure as a wide shallow 
scye re(piires a wide low sleeve. 

Tlie height of the ball of the sleeve must be 
regulated entirely by the length from the bottom 
of the scye to point (O) as in the sleeve draft in 
this volume. So also must the width be regulated 
entirely l)y the distance from front to back of scye. 

By using this sleeve you will never have folds 
running from the front to the back at top of sleeve. 
\i>u will never have a fullness under the arm in 
the sleeve caused by the ball of the. sleeve being too 
short. You will never have a wrinkle at top of 
ball of sleeve, running from front to back, caused 
by too much length at top. In fact you will have 
a sleeve that tits the coat, and for all time insures 
you against any annoyance caused by ill-fitting 
sleeves. 




-2-2 



THE MODERN DESIGNER. 




-/^ ^- 



4-BUTTON SACK COAT CHART. 

With Sizes .'-Ui to 42. 



L«fC. 



TllK MODKRX DKSKiNKK. 



23 



SYKTEin OF OBADIIVO. 




IN THIS rtj'steiij I use two models. 
Tlie cut shows sizes 36 and 42, 
which are used for men's reguiiir 
-ize coats. While the single model 
system is simpler than this one, it 
is also unreliable, and produces large and small 
.sizes that are entirely out of proportion. This can- 
not happen when two models drafteil by my pro- 
portion measures are used. 

First you make your model 36, being careful to 
get it accurate. Take the proportionate measures 
in this book, and use them the same as actual 
measures. This will give you a perfectly balanced 
proportionate garment. After jtiuishing the 36, 
make your 42 size shaping the ditierent lines by the 
36 model. Then place the 42 forepart on the paper 
you intend usuing for your chart, and mark the 
outlines on said paper. Also, mark pockets, 
buttons and all the iniportnnt jioints as shown in 
the cut. After you have the 42 size finished on 
your chart, then lay the 36 model on as shown in 
the cut, having the side seam ot tlie 36 about one 
inch in the rear of the 42. Mark your 36 the same 
as you previously marked the 42. After this is 
done draw lines from all points on the 36 to connect 
with corresponding points on the 42, as per illus- 
tration. You will notice the most vital points are 
lettered, as G, which is the breast line or depth of 
scye ; B, C and D are at natural waist ; E at sleeve 
notch, and F on breast line. The other lines for 
your division of sizes should be placed at all 
corners and curves, as illustrated, to retain the 
shape of your patterns. 

After all parts are connecti'd by these lines, 
divide the space equally between the 36 and 42 on 
these lines into the number of sizes between them. 
To better explain this, there are 6 sizes between 36 
and 42. You will therefore divide this sjiace into 
6 parts equally, which ffives yon sizes 36, 37, 38, 39, 
4(1. 41 and 42. Then to find sizes 33, 34 and 3.5, 
space the 33 the same distance from the 36 as the 
3ft, and divide equally into three parts ; Tiamely, 33, 
34, 3.5. All parts should be treated in this numner, 
as shown in the cut. After your chart is com- 
pleted, an\- size is easily taken ott' by simply punch- 
ing through all the points of the size desired. 

In making a full set of patterns, first take otf 
your 36 size and complete the ]iattern : tlien take 



ofl:"your 37, and use the 36 to shape tlie lines, and 
the 37 for the 38 and so on. For the 35 shape witli 
the 36, ami the 34 with the 35, etc. 

For M.VKI.N'd S.\rK Co.\T ('h.\uts. 

Make all the parts sepai'ate, as the forepart, 
back, upper sleeve, under sleeve and collar. In ail 
charts, each part should Ite made separately, which 
will make it easier to handle. 

After studying the cut in connection with this art- 
icle, you will be enabled to make charts for all gar- 
ments. The position of the patterns on the chart is 
of no vital importance. All that is required is that 
you get your points connected properly, and divided 
equally. Y^ou will, after practicing this for a time, 
find a convenient way to place your patterns in 
making a chart. The two sizes should always be 
pilaced a certain distance apart, sufficient to enable 
you to get your division of sizes between con- 
venient I}'. 

ORADIIVQ TRUVJ^ERS. 




KOUSFRS are graded slightly difler- 
ently from the other garments for 
the reason that j'ou have two sizes 
to contend with, the waist and 
length. For grading ti'ousers use 
the following method : 

After making your two model sizes, mark the 
large size on your chart, marking all points as in 
the coat ; then place your small size, making the 
knee notches for corresponding lengths meeton the 
same line. We will say that you make your two 
models, one a 32.\32, the other a 38x32. Then 
nuirk these two sizes on 3'our chart, with the same 
line answering for the knee of both drafts. To get 
the ilifterent lengths, go down from the bottom, 
one inch for each e.xtra inch in length, and up one 
inch for each inch less length, making the shape of 
the bottom the same at each one ot these inch 
lengths. The sizes should be also divided the same 
as in the coat chart for the sizes of the bottoms. 
The knee should be raised one-half (i) inch for 
each inch less length, and lowered one-half ( i) inch 
for each additional inch in length. 

After your chart for trousers is made, it will 
have a straight line across the knee for one length ; 
for each inch difl'erent length, there will be another 
line ^ inch distant, and each one of lliese lines has 



THE MODERN DESIGNER . 



the division ot vviiist sizes tVom 3"2 to 38 at tlje oiit- 
seam and inseani of leg. Each of these lines should 
be marked in the center with the length as 31, 32, 
33, 34, etc. Then when taking the trousers from 
the chart, jou will have to find the line indicating 
the length of leg, and go out on this line for the 
size indicating the waist; for instance, suppose you 
want to take up a 3(3x32, you will necessarily punch 
through the size 36 waist on the 32 length line. 
This api'lies both to the knee and bott(mi. The 
difference is that the length lines at bottom are one 
inch apart and at knee, ^ inch apart. 

A chart for trousers made by the above method 
will produce all your trousers true to your model. 
In fact, the only way of making any set ot block 
patterns is by grading, all argument to the contrary 
notwithstanding, because it gives them uniformity 
and correctness. 

You might make a set of patterns by drafting 
each one separately, and some would be right, 
while others would be wrong. 1 have seen block 
patterns made by drafting, one at a time, and some 
parts of the smaller sizes were larger than the same 
part-^ ot the larger sizes. In gra<ling, this is im- 
possible, for each size has the same uniform increase 
or decrease as the case may be. 

A set of block patterns made by the above 
method will possess certain valuable features, little 
dreamed of by the ordinary cutter. For instance 
a mail measuring 3H breast can easily wear a 35, 
3G or 37 size, and either will tit him nicely. These 
things are facts, which e.\i)erience will prove. 

meii'js Proportionate measures. 



Boys' I'roportiouate JMeasiires 
From 38 to 34. 





IiKPTll 








BREAST. 


OF SCVR. 


IU,AliK. 


1st over. 


2nd over. 


33 


7i 


10] 


10| 


15J 


34 


8 


1<4 


11 


16 


35 


8i 


lOJ 


lU 


16i 


36 


8J 


m 


111 


17 


37 


8| 


115 


12 


17i 


38 


Hi 


12 


12i 


m 


39 


y 


12i 


12i 


17i 


40 


H 


12 J 


121 


181: 


41 


n 


T2.; 


13 


18* 


42 


n 


13i 


13i 


181 


43 


Uf 


13{ 


lU 


19 


44 


10 


13:' 


131 


19i 


45 


lOi 


13f 


14 


19i 


46 


101 


13J 


14i 


19J 


47 


lOi 


13' 


14i 


20 


48 


lOf 


14 


m 


20i 


50 


lOf 


14] 


154 


201 





DEPTH 








RRE.'VST. 


OF SCYE. 


BLADE. 


1st over. 


2nd over. 


28 


H 


81 


9i 


13 


29 


m 


8i 


91 


13i 


30 


7 


9] 


10 


14 


31 


7i 


n 


m 


14* 


32 


7* 


10 


10* 


15 


33 


71 


10] 


10| 


15i 


34 


8 


lOi 


11 


16 



Children's Proportionate measures 
From a to 13 Years. 







DEPTH 




1st 


2nd 


AiiE. 


BREAST. 


OF SCVE. 


BLADE. 


over. 


OVER. 


3 


21 


4] 


51 


7 


8* 


4 


21 f 


4* 


6 


71 

' 8 


9 


5 


22| 


4f 


6i 


71 


9* 


6 


23]: 


5 


6§ 


71 


10 


7 


24 


5i 


7 


8 


10* 


8 


241 


5J 


7i 


8i 


11 


it 


25* 


51 


7i 


8* 


11* 


10 


26i 


6 


71 


8i 


12 


11 


27 


6i 


H 


9i 


12* 


12 


28 


6* 


84 


9* 


13 



Sileeve r.eugtlis From S to 12 Years. 



Ao'e 


3 


4 
16i 


5 
171 


6 

184 


7 
19* 


8 
201 


9 

21* 


10 
22i 


n 

23i 


T> 






Sleeve Length 


25 



liengths for Fasiiionabie Waist, 
Sleeves and Tests. 



Sizes 


33 


34 


35 


36 


37 


38 


39 


40 


41 


42 


Fashionable 





















— 




Waist 


17i 


17* 


171 


18 


m 


18* 


181 


19 


m 


19^ 


Lengths 






















Sleeve 
Lengths 


30 


304 


31 


314 


32 


32i 


33 


33i 


33* 


33| 


Vest 
Lengths 


24* 


241 


25i 


25 f 


26 


261 


261 


274 


274 


27i 



TIIK MODERN DESK; NEK. 



2:-. 



Sleeve aud Vest LeiigtliK lor BoyN 
From 38 to 31. 



Sizes 


28 

25 
21 


211 


SO 


31 


32 


33 


34 








Sleeve Leiii^jtli... 
Vest Length 


26 

21 J 


27 

22i 


28 
23i 


29 
24 


30 

24.f 


31 

25i 



measure For Kuee Pautw 
From 3 to 13 Years. 



I2i 

H 

23i 



241 



5 


II 


7 


8 


13^ 


14i 


15 


15f 


7 


''i 


8 


^^ 


24 


m 


25 


25^ 


254 


m 


27 


27.^ 


10 


m 


10^ 


11 



m 

9 
26 

28^ 



174 18|: 



10 

m 

29i 
12 



11 
27 
30 

12^; 



12 


13 


14 


20 


21i 


23 


12 


13 


14 


m 


28 


28^ 


30| 


31^ 


32i 


13 


13^ 


14 



2U 

15 

2!t 

33 

14^ 



Tliese tables of lengths will be t'oiind valuable to 
any cutter desiring a set of block patterns They 
are not only reliable, but are the standard lengths 
of to-day. All garments that have any pretentions 
of being first class must have these lengths. A 
slight variation from these lengths for proportion 
garments will make the garments defective, because 
experience has proven that there can be but one 



length for difierent parts of different sizes that are 
recognized the country over as giving the greatest 
satisfaction, and fitting the most people, and the 
tables r jiublish contain these lengths. 

You will also find the table of proportion 
measures equally as true as the table of lengths. 
They will produce a garment that will fit the 
largest percentage of people. You will find them 
of great value by comparing them with measures 
you take every day, anil \ou will also be able to 
tell if you have a true measure. For instance, if 
you measure a man who is very erect, then by 
comparing your measures with these, you will 
notice that ^our blade measure will be smaller, aud 
your first over will be longer, providing you have 
taken a correct measure. This will show that your 
measure is right. You will rind that these com- 
parisons will be of great advantage to you in your 
business. 15ut the greatest value of these propor- 
tion measures to you is in your being able to make 
block })atterns tliat will be right, sucli patterns as 
will meet the general demand. There is a largo 
field in this country for cutters who are expert in 
producing first-class proportionate patterns, aud I 
know that by following the methods and using the 
measures in this book, you will become expert in 
this business, providing you have any natural 
ability. 

I shall ask that you give these measures yuiir 
closest attention and endeavor to find a fiaw in 
them. Compare the lengtiis I give with those of 
any first-class proportionate garment, and be con- 
vinced of their correctness. Kemember that it is 
the correctness of tilings which distinguishes the 
superior from the inferior article. 



^}^'(q^)^'Co^)'^ 'to^}2i\0 ^JS^wO °}^\^ 



°jS'C^ v.SCo v^'C^ °)^'(° v.St'C^ v.St'Co 



THE MODERN DESIGNER. 




riGURE N9 2 

MEASURES ILLUSTRATED. 



THE MODKIUV DKSIGNEK. 



DIKECTIO^VN F<»K MEASURIKG. 




llRST hiive the custointr remove his 
coat ; then see that there is no sur 
phis goods around his hody. It' tlie 
vest is too large and has surplus 
cloth in it, you will be unable to 
take an accurate measure. You shoidd therefore 
pull the l)uckle strap close, making the vest sinootli 
around the waist, and pin any surplus, tiiat may bi; 
around the breast, under the arms. Tiiese small 
items are easily and (piickly attendcil to, and will 
insure you an accurate measure. Atter this is 
done place your scjuare under the arm as illustrated 
in Figure 1, having the long arm of tlie square hor- 
izontal : then mark in the corner of square at H 
and above square iti the rear ot arm at J. Remove 
your square place it horizontally across the back 
on a line with your mark -T ; this will give you 
point B shown in figure 2 ( the depth of scye ): 
then find the point H on opposite side of customer 
with square, using tlie same process as at first ; then 
throw both ends of the tape line over client's shdtil- 
ders, letting the center rest at back ot neck. After 
gently pulling the tape back and forth a time or 
two, it will rest in its proper place, giving you point 
A, which should be marked. 

Point C is the most hollow part of the waist, 
directly above the hip bone. This point should also 
be marked ; then commence measuring as follows, 
from A to J> ( depth of scye) on to C (natural 
waist ) continue for full length. Then again from 
A cross neck doun in front ot slioulder to point 11 
(first over); tlien begin at 11 going across iiack 
tlirough B to ])oiiit H on the other side of customer. 
This gives you the blade measure when divided in 
half. ^ ou should always measure across the back 
to get a true measure, because it is next to impos- 
sible to locate the centre, if you should want to take 
half of the blade. By taking this measure across 



both blades and then dividing in two, you will 
always have an accurate blade nicasure, which is 
very important in locating not only the tVont of 
scye, but also in locating the entire front shoulder. 
Nowplace end ot tape ;it 1! and lucasuiH^ over the 
shoulder to II ( second over ) : take sleeve measure 
from center of back to elbow and on to wrist bone, 
having the arm in a horizontal position, and the 
elbow bending in the shape of the Icttci' L, 



BREAMT AMI* WAI«<iT ItlEAKdKKM. 

The breast measiii'e should he taken with the 
tape horizontal and close up under the arms, draw- 
ing moderately tight. 



TO IVIEAt'iCRK FOa TKOU.SERH. 

First the outseani from hip bone. Then the in- 
seam froni close uj) in crotch. Then have customer 
stand with his heels about 3 inches apart; take 
measures, |) waist ; K seat ; F around both knees ; 
(1 around both ankles. Measures F and G give 
you the exact slope of the customers legs. If the 
customer is bowlegged, measure F will be large in 
pro[iortion to the seat, and if tlie knees are inclined 
inward, this measure will be small. You will con- 
secpiently kiiow exactly how niucb goods to leave 
at the outseani at knee, which will always insure 
you perfectly balanced trousers 

I explain these measures more ininiitely in my 
" remarks on trousers '". A great many cutters are 
acquainted with some of the above measures, but I 
deem it best to give them all, and explain just how 
they should be taken, for the lienefit of those who 
have a poor measurement system. An accurate 
measure is invaluable in cutting garments, and by 
following the above instructions carefully, you will 
be enabled to get as true a measure as possible, 
which will certainly insure success when applied 
to a perfect sj'stem of drafting. 




28 



thp: modern designer. 



WAIST 81JPPRESSIO.W. 




|HE aniount taken out between Y and 
1 on the frock coat draft cannot be 
arrived at by any set rule in cutting 
garments to actual measure, be- 
cause of the various shapes you will 
have to contend witli in this branch of cutting. 

For instance, you take two measures both being 
the same — we will say 36 breast, 33 waist, and ll] 
inch blade. One might have a hollow waist in the 
back, and full in the front while the other may 
have a full waist in the back, with hollow waist in 
the front. Some will say that when a man's waist 
is full in the back, he is a stooping figure, and when 
he is hollow he is always erect. This is not the 
case, because two men may have the same posture, 
and still have the varying waists, of which I speak. 
Therefore, you will see that it is impossible to have 
any set rules for governing this point. 

The way to determine what quantity is to be 
taken out in cutting garments to actual measure, 
is to observe at what angle his back runs from his 
blades to his waist. There are various ways in 
which this can be determined by measuring, but 
they cannot be relied upon, for the reason that the 
slightest movement of the client's body, will change 
the position of his waist, throwing it more hollow 
or more full in the back. 

You might tell a man to stand in his natural posi- 
tion, and nine often would stand more erect than 
their natural position really is. Yon will there- 
fore see the impossibility in having a set rule for 
this point. Just notice when measuring how much 
further your client's blades project then the waist, 
and your eye will soon become experienced, and you 
will be able to tell by a glance when a man requires 
more or less suppression than the average. 

It will be necessary for a cutter to have a mark 
of some kind, that he should always put with the 
measure of individuals directly after measuring to 
remind him of suppression re(iuired, or tlie shape 
of the individual's waist. 

There is a lot of discussion on this particular 
point, in garment cutting. Some take out a cer- 
tain proportion of the breast : others the difterence 
between breast and waist, and still others compare 



the blade measure with the waist measure. These 
methods will all do in some cases, and in others they 
will none of them be correct. The quantity I take 
out in my draft will be right for the majority of 
people. 

Some figures have the breast and waist measures 
equal, and still require as much taken out between 
the back and side body as others with a breast 
measure four inches larger than the waist, requir- 
ing the extra amount of goods in the front. Of 
course, where the figure is erect, and the coat bal- 
anced properly the goods will be thrown forward 
where it belongs, as is the case with a great many 
corpulent figures, they being erect. 

The quantity taken out should seldom be less 
than one inch or more tlian 2^ inches, and this quan- 
tity is not to be regulated by the position of your 
client, whether he be erect or stooping, but by the 
slant of his back, from the shoulder blades to his 
waist, for when a figure is erect or stooping the 
shoulder measurements and balance of the garment 
will regulate this. 

One tiling on this subject, which is very impor- 
tant, is the quantity taken out between 2 and 3. 
This can in most cases be regulated by the differ- 
ence between chest and waist, by taking out ^ of 
the difi'erence between chest and waist where the 
chest is the larger, and by lapping side body over 
front the same amount, where waist is larger than 
chest. 

Notice, when measuring a man with a large chest 
and very small waist, that the slope of his body 
under his arms to liis waist will be inward, while 
in the opposite case, with a small chest and large 
waist, the slope will be just the opposite. For this 
reason, it is plain that the smaller the waist in pro- 
portion, the more it will be necessary to take out 
at this point, and vice versa. 

This holds good in nearly all cases. Strict atten- 
tion to this method will prevent many wrinkles in 
the waist of a frock coat, especially in cloth that is 
not pliable, for then you must take out the goods 
in the proper place, or the coat will never fit 
smoothly in the waist 

In pliable goods these defects are not so notice- 
able, but tliey will never-the-less prevent your 
garment from being graceful. 



THE MODERN DESIGNER. 



29 



FAUiiTS l.iki:lt to be fouko ijv 

COATS AIVU HOW TO AL,TEK SAITIE. 




A C!oAT Swinging Away at Waist 

AND 8eAT. 

Ills may 1)e caused in several differ- 
ent ways, wliirli are, by having tlie 
front shoulder too long ; the dentil 
of scye too sliort, (.)r tlie coat may 
have been cut too full in tlie waist 
and seat. Tlie fault is easily discerned by the 
followiug observations: 

The short depth of scye, and long front shoulder 
give the same effect. To determine which is at 
fault, just notice the back, immediately under the 
arm, and if there are small wrinkles pressing against 
the arm pit, then the depth is too short, which can 
easily be remedied by raising the back at the side 
seam, letting the side seam of the forepart go down, 
and the side seam of the back go up. 

When the front shoulder is too long, the coat 
will throw long folds running from the iilades down 
under the arm to the hips on both sides. This 
fault must be remedied by taking some otV the top 
of the front shoulder until it swings the coat around 
to a proper balance. 

In both these cases, you will notice the bottom of 
the coat will not button, jiroviding the coat is cut 
to the waist measure. Therefore, you will have to 
use the above alterations to swing the coat forward 
and cover this deficiency. 

These alterations, if used properly, and with 
care, will always bring the coat to a proper balanc'e 
which is in fact the most essential point to be 
considered in a coat. These alterations are simple, 
and well known, and always used by experienced 
cutters. I give them tor the benefit of the less 
experienced ones. 

A Coat that is too Close at the Seat. 

Now we will take a coat that has Just the 
opposite faults, swinging against the seat and 
tlirowing a puffy fullness in the w^aist. This is 
caused either by the front shoulder being' too short, 
or the depth of scye being too long. It is easy to 
distinguish which is at fault in this way : If the 
front shoulder is short, the coat will not only be 
tight at the seat, but will also draw wrinkles from 
the arm hole to the shoulder point, wliich should 
be remedied by letting out the shoulder of forepart; 
while if the coat is too tight at the seat and does 
not draw on the front of shoulder, it is an indica- 
tion that the depth of scye is too long in the back, 
and should be altered by taking off the required 
amount at the top of back, leaving the top of 
back in the same shape as before, but shorter. 



A Coat that Draws Wuinkle,s 

IN Tin: SllOlJl.liKU. 

This is a point that gives young cnttcirs more 
trouble than any other fault of the giirinent, and it 
lias several ditiereiit causes, which are easily dis- 
tinguished by the following rules : 

If a coat draws wrinklew from the shoulder point 
to the froni bottom of scye, the fault will be in 
having the first over measure too slioi't, which 
should of course be made longer. Hut if the coat 
draws wrinkles fi-om the shoulder point to the bone 
at tlie top of shoulder, this shows that the shouhler 
is too crooked, the shoulder point being too far 
back. When this point is drawn forward to its 
place at a man's neck, where it belongs, it will draw 
wrinkles and become too tight on this bone, which 
you can easily prove to yourself by taking a jiattern 
and by laying your left hand at the breast lim> of 
coat and pulling the shoulder point forward, this 
will ]iroduce the same wrinkles that- will be found 
on the finished garment. To take these wrinkles 
away, and make the shoulder perfectly smootli, you 
will have to add on the front of this point, that is, 
go out further in the gorge and take off tlie same 
amount at the shoulder at scye, making the width 
corresjiond with the shoulder seam of back. 

Coats that Break in Fhont of the Arm. 

This fault has several causes, if a shoulder be 
too straight, that is, if the shoulder point be too far 
forward, it is just the reverse of the fault I spoke 
of in a coat drawing wrinkles in the shoulder. 
Where this is the case, the break will run hori- 
zontally from the front toward the back, which 
should be altered by moving the shoulder point 
backward and adding this same amount at scye to 
the shoulder seam. 

Breaks different from the ones above described, 
are caused by the scye being improperly shaped. 
A great many scyes are cut perfectly round, which 
is a mistake, and will never produce a clean fitting 
garment, except for a very erect figure. The more 
a figure is stooped, the more should the stye be 
oval shaped, the front bottom being the most hollow 
part. 

A Coat that Stands Away kro.m the Neck. 

The dift'erent causes of a coat standing away at 
the neck are the following: 

The depth of scye being too short will make a 
coat stand away at the back of the neck, which can 
easily be remedied by lengthening this depth, not 
by cutting out of l)oltom of scye, which would do 
no good whatever, but by moving the back up at 
side seam, and letting the side seam of forepart 
down. This will throw the coat to the neck neatly 
When a coat stands away at the neck opposite to 
and in front of shoulder seams, the cause is either 
in the first over measure being too long, or the 
second over measure too short. Or, sometimes by 
the gorge being hollowed out too much. 



30 



THE MODKRN l)KStUNKK. 



Tf tlie coat is tight ou tiie slioulder bone, tlien it 
should be let out to allow the coat to settle down, 
and the collar will fall in its proper place. It it is 
too loose at the shoulder point, it should be taken 
in there, and the outer part of shoulder not molested, 
which would have a bad result, if let out when not 
too tiglit. 

When it is caused \>y the gorge being too hollow, 
you will notice that the seam (when the collar is 
sewed on) does not come close enough to the neck, 
which will necessarily liave to be let out, in order 
to brine the collar to the neck. In other words, 
you will have to till your gorge in 

A Coat that Sacs and Biieaks at Back 

llNHERNEATn THV. ArM. 

This is a fault that presents itselt very often to 
cutters. The garment will draw ugly wrinkles 
from beneath the arm running at difi'erent angles. 
It also throws long folds from the back of blades 
towards the hijis, giving you the impression that 
there is too much goods over the blades Vou will 
never be able to remedy this by taking in at the 
side seams. The only way to remedy tliis is by 
taking in at the second over measure making the 
coat shorter at the outside of shoulder. Sometimes 
it will be necessary to "pare" out a little at the 
back of scye when making this alteration. 

There are times when the tailor is to blame for 
different faults occurring in garments, and some- 
times the cutter gives the tailor wrong instructions 
in making a coat. For instance, some cutters when 
they see that a coat does not tit smoothly on tiie 
shoulder, will have the scye stretchetl and ^■-s cut 
in canvas in order that the coat may settle over the 
bone of the client's shoulder, and after the scye is 
unmercifully stretched and the coat settles down 
some better, they wonder what makes it sag under 
the arm. 

It is nothing more or less than this. In stretch- 
ing the scye you have made the second over 
measure too long, and the coat will consequently 
sag under the arm. A well cut coat requires very 
little stretching Whenever a coat is tight on the 
shoulder bone and wrinkles as the result, it is an 
indication that the shoulder is too crooked, and 
should be straightened by the alteration of which I 
have previously spoken. 

Some Facts Aisout the Snori.DER Point. 

A misplaced shoulder point does more damage to 
a garment than any other mistake 3'ou could make, 
with the possible exception of an ill-balanced 
garment. 

And since the balance is so simple a matter, and 
can be altered so easily by changing the length of 
the front or back of shoulder, just as the garment 
needs, I think it safe to say tliat the shoulder 
point is the vital point. I will also say that when 
a cutter has mastere(i this point, he is ou the road 



to success. Who can gainsay tiiis ? No one, I am 
sure, because a misplaced shoulder point will show 
up more faults than any other illy-constructed part 
of tlie garment. 

Here are some of the symptoms of a shoulder 
point that is not in its proper place : It will make 
the coat draw unsightly wrinkles ou the shoulder, 
and will make the lapel bulge out, away from the 
shirt. It will make the coat press down on the 
outer edge of the shoulders, feeling very un- 
comfortable, and will make the coat l)reak in front 
of tlie arm. 

All these faults can easily be avoided by any 
cutter, if he will always get his shoulder point in 
the right place. This can be done by following 
the instructions that I will give, and by making a 
close study of the first draft in this book. 

The proper place of the shoulder point : 

A shoulder point should and can only be in one 
jilace, and that is directly in front of the point of 
back, where it joins in seaming. If it is one-half 
inch in front of or back of this point, it will draw 
wrinkles, (as anyone can see,) since it must be 
joined to this point. How can we get the shoulder 
point to this place V 

Notice the draft, see points and (^t. You will 
notice that by lapping over point 0, it will meet 
point Q. The same with points H and G. By 
lapping over II, you will meet (1. No one can 
deny that this will give you a smooth slioulder, 
ju'oviding the draft is lapped over in the proi)er 
place wlien drafting, as in the shaded jiart of draft. 
Now the point to locate is where the draft is to be 
lapped over. This should be exactly where the 
coat turns around a man's body, the exact line on 
his side which divides his back from his front. To 
illustrate this better, I would say to take a piece of 
cardboard and lap your paper over it, and where 
the crease comes over the edge, there is where the 
turning point is. Of course, a man's sides beiug 
thicker than cardboard, you will have a little more 
difficulty in locating this point. But, in using the 
blade measure, ami finding out how large a man's 
back is and liow large his front is, you can get 
this turning pt)int just as accurately as if you folded 
the paper over a piece of cardboard. (Read my 
measurements for locating this dividing point.) 

And, since the coat turns over at this place, it is 
necessary that the point at neck in front should 
meet the point at back. You can easily see this is 
the only accurate way of locating the shoulder 
point. You can also see this is no pet theory, and 
I cau assure you that it is the only possible way I 
have ever found of locating the shoulder point 
accurately. 

It is impossible to make a mistake on this point 
by this Tuethod, if you have a true blade measure, 
which measure can be accurately taken by follow- 
ing my directions in measuring. 



LIBRARY OF CONGRESS 



014 082 760 5 



